She works at the intersection of biography and history, focusing on post-plantation economies by engaging with a particular landscape on Barbados.
Annalee Davis Uses Art to Unearth and Interrogate
For Annalee Davis, the land, especially the island of Barbados, is often a baseline issue in her work; as are issues of race, class and gender. This might be so because she was born into a large white creole family of five children on a sugar cane estate in Barbados.
Annalee Davis’ (bush) Tea Services: Botanical Inheritances
Janice Cheddie shares a review of ‘(bush) Tea Services’, an installation and performance piece by Barbadian artist Annalee Davis. The project, which explores the multi-layered and complex history of the plantation in the Caribbean, took place in July/August 2016 as part of the temporary Empire Remains Shop in London, curated by artists and curators Cooking Sections. Read her article exclusively on ARC below:
The Perception of the Plural in a Unique Space (2010)
“An approach to the work of the Barbadian artist Annalee Davis cannot be done without a fragmentary, plural perspective, attending to characteristics of its own creative mission that identify with multiple and complex interpretations and approaches to the variants in Caribbean contemporary art. Her work cannot be restricted to a defined esthetic or technical expression, given the variety of approaches and ways of doing what fundamentally characterize the work of this artist.”
by Maria Prada Naida (translated by Margaret Ann Harris)
Relationship home / land in the discourse of identity and self-image (2010)
“Whether in recordings, installations, or painted panels with objects attached, Annalee Davis exposes the interesting relationship home /land ; that is, the term casa, home, and that of homeland, patria. It is a partnership and discourse on identity and self-image that the individual creates of our contexts. This, with the clear aim of making us think.”
by Alena Méndez Moreno (translated by Margaret Ann Harris)
Sarah Clunis on Annalee Davis
“The result is a series of hybrid juxtapositions of objects that examine the relationship between past and present issues of land use.”
By Sarah Clunis